Chapel Hill Philharmonia Donald L. Oehler, Music Director Hill Hall — University of North Carolina at Chapel Hill 7:30 p.m. Sunday, May 3, 2009 Leonard Bernstein (1918-1980) Candide Overture Edvard Grieg (1843-1907) Piano Concerto in A minor, Opus 16 Allegro molto moderato Andrew Zhou, piano 2009 Concerto Competition Young Artist Intermission Jean Sibelius (1865-1957) Symphony No. 1 in E minor, Opus 39 Andante ma non troppo - Allegro energico Andante (ma non troppo lento) Scherzo (allegro) Finale (quasi una fantasia): Andante - Allegro molto - Andante assai - Allegro molto come prima - Andante (ma non troppo) Please join us after the concert for refreshments in the Hill Hall Lobby. We could entitle today’s Chapel Hill Philharmonia program “Musical Nationalism.” Norway’s Edvard Grieg and Fin- land’s Jean Sibelius are perpetually identified as their countries’ greatest composers, while Leonard Bernstein broke new ground as America’s quintessential musician. Yet as characteristic as the music of each may be to his respective land, these three geniuses transcend regional categorization and share a universal appeal. Today we hear youthful works that epitomize their unique sounds. Massachusetts-born Leonard Bernstein, a graduate of the Boston Latin School, Harvard College, and Philadelphia’s Curtis Institute of Music, grew into a citizen of the world. He conducted historic performances in the Soviet Union, Japan, Great Britain (first American to conduct the London Symphony Orchestra), Italy (first American to conduct opera at Teatro alla Scala in Mi- lan), and many more nations. The son of Russian-Jewish immi- grants, he led orchestras in both Israel and Palestine, and won the love of notoriously snobbish symphonic musicians in former capitals of the Third Reich. In December 1989 he conducted a series of “Berlin Celebration Concerts” as that divided city’s Wall was being dismantled, including a Christmas Day performance Leonard Bernstein, 1957 of Beethoven’s Ninth Symphony in which the “Ode to Joy (Freude)” was transformed to an “Ode to Freedom (Freiheit)”. He championed the disenfranchised, supporting groups ranging from Amnesty International to the Black Panther Party. Bernstein had a special association with ‘the Big Apple’ (“New York, New York, it’s a helluva a town/ the Bronx is up and the Battery’s down…” – On The Town). Appointed an Assistant Conductor of the New York Philharmonic in 1943, at age 25, he stepped into a national spotlight as a last-minute substitute for the indisposed Bruno Walter to lead a concert broadcast from Carnegie Hall. He became the Philharmonic’s music director (1957-69), the first American native to hold the top artistic post with a major US orchestra. Beyond lasting impact as a conductor, pianist, and educator (Young People’s Concerts, Norton Lectures at Harvard), Bernstein produced memorable symphonic works, operas, ballets, and choral pieces. His protégé John Mauceri, now Chancellor of the University of North Carolina School of the Arts, believes these compositions reflect the city’s influence on his mentor. “While [Bernstein’s] music finds its spiritual home in his world view, his music speaks with a New York accent... [H]is lyrical expressivity…is wrapped in the rhythmic propulsion of a great American urban landscape. He has left us an aural image of his time and place and, at the same time, an eternal voice of humanity.” ‘Lenny’s’ voice found its most natural home on New York’s Great White Way, Broadway. The eclectic sophistication of his scores was revolutionary. As Bernstein’s daughter Jamie observed, “He wrote jazzy music for the concert hall and symphonic music for the Broadway stage.” He also helped open the doors of American musical theaters to challenging subjects – gang war framed by Shakespeare’s Romeo and Juliet (West Side Story), and McCarthyism through the filter of Candide. In his 1759 novella Candide, or Optimism the French philosophe Voltaire satirized Gottfried Wilhelm Leibniz’s philosophy of optimistic determinism. Dr. Pangloss, a Leibniz caricature, teaches the naïve Candide and his Westphalian friends that “all is for the best in the best of all possible worlds.” Candide finds abundant evidence to the contrary, as misfortunes overtake him, one after the other – including the Seven Years’ War, the devastating Lisbon earthquake and tsunami (1755), the rape and enslavement of his beloved Cunegonde, and his own flogging by the Spanish Inquisition. (The latter served as an obvious stand-in for the House Un-American Activities Committee, which publicly ‘burned’ political ‘her- etics’, as captured in Bernstein’s sardonic song: “What a day, what a day for an Auto-da-fé...it’s a lovely day for drinking and for watching people die.”) Despite an all-star team, including famed playwright Lillian Hellman, the Broadway Candide (1956) initially bombed at the box office. New York Times critic Clive Barnes later noted: “It was no secret that [the] comic operetta Candide was not only the most brilliant work Mr. Bernstein has ever composed, but also that in its original staging it had been an un- happy, unlucky failure…It was the classic did-not-work-on-the-stage musical.” A revamped production with a new book emerged as a surprise hit 17 years later. Moreover, Bernstein’s score retained a life of its own. The Candide Overture, with scaled-up orchestration, became a signature showpiece for the New York Philharmonic; Bernstein introduced the work with ‘his’ orchestra in 1957 and conducted it more than 50 times. At a memorial concert one month after Bernstein’s death in 1990, the Philharmonic’s musicians performed the piece without conductor in his honor, and have done so many times since. The Overture features several scintillating episodes, each set off with a bright fanfare, which exemplify Bernstein’s (and Voltaire’s) energy and wit. The climactic theme comes from “Glitter and Be Gay”, a stunning parody of every over-the-top aria written for divas aspiring to nightingale-hood. If Bernstein helped to liberate American symphonic music from European hegemony, Grieg and Sibelius were associated with actual national liberation. Each was born in a homeland controlled by a foreign power. Norway had been united with Denmark from the 16th century until 1814, and then, following defeat in the Napoleonic Wars, came under the domina- tion of the Swedish crown until independence in 1905. Finland was part of Sweden from the 13th century to 1809 when Tsar Alexander I invaded and established it as an autonomous Grand Duchy in the Russian Empire. A Finnish nationalist movement began to grow in the 19th century, but achieved autonomy only after the Russian Revolution of 1917. Edvard Grieg grew up in Bergen, a thriving port city on Norway’s western coast. His great-grandfather came from Scotland and established the family as successful merchants, trading dried fish and lobster across the North Sea. Grieg’s grandparents were active in one of the world’s oldest music society orchestras, the Musikkselskapet Harmonien (established 1765), and his mother was Bergen’s leading piano teacher. Young Edvard gravitated to music, exploring at the keyboard for hours: “Why not begin by remembering the wonderful, mystical satisfaction of stretching one’s arms up to the piano and bringing forth – not a melody. Far from it! No, it had to be a chord... both hands helping – Oh joy!…When I had discovered this my rapture knew no bounds.” Even so, a musical career was barely a dream until the summer of 1858, when Ole Bull, a relative by marriage, visited the Grieg family. Norway’s greatest violinist recog- nized the 15-year-old Edvard’s potential, and recommended him to the excellent Con- servatory in Leipzig, Germany. There, Grieg studied piano and composition. Although he rebelled against the rigid conservatism of some of his teachers, and barely survived Edvard Grieg an attack of pleurisy, he graduated in 1862 with good marks. Grieg moved to Copenhagen, Denmark, the seat of Scandinavian culture, where Niels Gade, formerly a close associate of Felix Mendelssohn’s in Leipzig, led a vigorous musical community. A friendship with his countryman Rikard Nordraak, a patriot who composed the Norwegian national anthem but died of tuberculosis at age 23, stimulated Grieg’s desire to create a specifically national music. He also re-encountered his first cousin Nina Hagerup, a pianist and singer. They married in 1867. Nina became known as the finest interpreter of her husband’s songs. The couple settled in Oslo (then known as Kristiana) and began a long struggle to build a following for serious music in Norway. Following in Nordraak’s footsteps, Grieg studied Norwegian folk sources and soon wrote a number of short pieces that reflected this interest. During the next summer holiday he began thePiano Concerto in A minor, the break- through opus for which he remains best known. At its first performance, by pianist Edmund Neupert in Copenhagen (April 1869), the audience responded with great enthusiasm, interrupting with applause after the virtuosic first movement cadenza. The 25-year-old composer’s work quickly became a staple of the Romantic literature. Over the following years Grieg emerged as Norway’s leading musical figure, and with a strong international following. His output included over 170 songs and choral works. Instrumental compositions included numerous piano works, three vio- lin sonatas, a cello sonata, a string quartet, and theater pieces, notably incidental music for Norwegian dramatist Henrik Ibsen’s verse play Peer Gynt (1876). Grieg became a national icon and lived to see Norway’s independence. Despite the handicap of chronic lung damage, he toured Europe frequently as pianist and conductor. Grieg’s works influenced many composers to explore their own national folk music as a rich a source of inspiration; Hungarian Béla Bartók, Englishman Frederick Delius, and Sibelius are prime examples.